August 4, 2025
Pandora is shifting. The balance that once held its world together is cracking — and the next chapter in the Avatar series is ready to show us what comes after.
Fire and Ash picks up just weeks after the events of The Way of Water. The Sully family is grieving the loss of Neteyam. Emotions are raw. Jake is falling back into the instincts of a soldier, while Neytiri pulls away, caught in her own way of processing. The kids — Lo’ak, Kiri, Tuk, and Spider — are doing their best to hold together a family that’s drifting under the weight of what they’ve lost.
But time doesn’t stand still on Pandora.
A new Na’vi clan has entered the story — one that doesn’t follow Eywa. The Ash People live in fire-lit lands, marked by volcanic stone and scorched skies. They are led by Varang, played by Oona Chaplin, and they don’t share the same beliefs or alliances as the other clans. Their arrival signals a shift in what it means to be Na’vi — and who counts as an ally.
This time, the conflict isn’t just with the RDA or the sky people. It’s coming from inside Pandora itself. And from the glimpses we’ve seen, the Ash People won’t back down easily.
Visually, the film moves into striking new territory. Lush jungles give way to lava fields and smoking cliffs. The color palette has changed. So has the tone. There’s weight in the images, in the silences between characters, in the fire-lit rituals and battle calls that echo across the ash.
Director James Cameron has promised a deeper emotional arc this time around. If The Way of Water expanded the world, Fire and Ash looks set to complicate it — with old tensions, new threats, and the kind of visual storytelling that only works when seen on the big screen.
The Warrens are facing their endgame. After eight films and countless hauntings, The Conjuring: Last Rites brings Ed and Lorraine to the one case they can’t walk away from — because this time, it’s personal.
Michael Chaves returns to direct what’s being called the final Warren story. Vera Farmiga and Patrick Wilson are back, but the dynamic has shifted. These aren’t the confident investigators we once knew. They’re older. More vulnerable. And the darkness they’ve spent decades fighting is finally coming for their family.
Judy Warren isn’t a child anymore. Mia Tomlinson steps into the role of a young woman who’s inherited more than just her parents’ name. With her boyfriend Tony Spera (Ben Hardy) at her side, she’s discovering that growing up Warren means the supernatural world doesn’t let you go — it pulls you deeper.
The haunting this time isn’t happening to strangers. It’s happening to them.
Father Gordon returns, bringing with him the weight of past exorcisms and unfinished business. The film digs into the mythology we’ve followed for over a decade while introducing something that feels both familiar and completely new. The scares are there, but so is the emotional toll of a lifetime spent battling evil.
Writers Ian Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick, working from a story by Johnson-McGoldrick and James Wan, have crafted something that feels like both an ending and a revelation. The tone is darker. More intimate. The kind of horror that gets under your skin and stays there.
This is how legends face their final test. And some stories only hit their full impact in the dark of a theater.
